Dick Griffin
1974
Eighth Wonder
01. Eighth Wonder 6:02
02. It Could Be 6:52
03. Girl, I Really Love You So 6:45
04. Jakubu's Dance 4:07
05. Flying Back Home 8:21
06. Come Be With Me 9:32
Trombone – Dick Griffin
Bass – Cecil McBee
Congas, Bells, Percussion – Leopolodo F. Fleming
Drums – Freddie Waits
Piano – Ron Burton
Tenor Saxophone, Soprano Saxophone, Flute – Sam Rivers
Vibraphone [Vibes], Percussion – Warren Smith
Diving into the Eighth Wonder: A Trombone Odyssey with Dick Griffin
If the ancient Seven Wonders of the World left you wondering why they stopped at seven, Dick Griffin's 1974 album The Eighth Wonder might just slide in as the missing masterpiece – pun intended, because this trombone-led gem from Strata-East Records is as overlooked as a brass player in a saxophone convention. Released in an era when jazz was stretching its boundaries like a yogi on a spiritual quest, this album blends soulful grooves, avant-garde bursts, and enough multiphonic magic to make you question if Griffin has extra lungs hidden somewhere. Let's unpack this hidden treasure with a full bio, musician breakdowns, technical nerdery, its ripple (or lack thereof) upon release, its spot in the Strata-East hall of fame, and its enduring legacy – all sprinkled with humor, because jazz without a chuckle is like a trombone without a slide: functional, but stiff.
The Man Behind the Horn
James "Dick" Richard Griffin, born on January 28, 1940, in Jackson, Mississippi, didn't just pick up the trombone – he wrestled it into submission and turned it into a voice for innovation. Growing up in the segregated South, Griffin's early life was a mix of bluesy neighborhood vibes and civil rights stirrings; he even crossed paths with Medgar Evers, adding a layer of social consciousness to his artistry that would echo in his music. His first musical spark came from a neighbor strumming blues guitar tales of the day, but at age 11, he dove into piano, switching to trombone in high school marching band. By his teens, he was gigging in clubs with future drum legend Freddie Waits, and even sang in a doo-wop group that almost hit the road with Sam Cooke – talk about a sliding door moment!
Griffin honed his skills at Jackson State University (graduating in 1963) and Indiana University (Master's in Music Education and Trombone). But the real education came in Chicago, where he jammed with Sun Ra's Arkestra in the mid-1960s, absorbing the cosmic chaos that would define his style. Moving to New York in 1967, he debuted on record with Rahsaan Roland Kirk's The Inflated Tear, becoming a key transcriber for the blind multi-instrumentalist and recording on classics like Prepare Thyself to Deal With a Miracle and Volunteered Slavery. Griffin's resume reads like a jazz hall of fame guest list: Duke Ellington, Count Basie, Ella Fitzgerald, Charles Mingus (who mentored his composing), Art Blakey, Dizzy Gillespie, Marvin Gaye, Michael Jackson, and even symphony stints with the Harlem Philharmonic.
Not content with just blowing minds on brass, Griffin developed "circularphonics" – a technique blending circular breathing and multiphonics to play multiple notes at once, mimicking Kirk's multi-instrument wizardry on a single trombone. He's also a visual artist, with abstract paintings exhibited worldwide, influenced by the same experiences that fuel his music: "When you hear me play, what I put out there is what I’ve experienced; and when I paint, I put the same thing on canvas – in a different way." As an educator, he taught at Wesleyan and SUNY-Old Westbury, and he's snagged grants from the National Endowment for the Arts and awards like the IAJE Outstanding Performance nod. His discography includes later gems like Now Is The Time (1979) and Homage to Sun Ra (2014), but The Eighth Wonder remains his debut leadership statement. Today, at 85+, he's still leading ensembles like his Trombone Trio and Rahsaan Roland Kirk Tribute, proving that age is just a number – or in trombone terms, just another position on the slide.
Humor aside, Griffin's life is a testament to versatility: from Mississippi clubs to Broadway pits (The Wiz, Lena), TV spots (Ed Sullivan Show), and global tours. He's the guy who turned the trombone from a background slurrer into a frontline innovator, all while painting the town – literally.
The Ensemble: Backgrounds of the Musicians (A Dream Team of Jazz Rebels)
Griffin didn't assemble a band; he curated a jazz Avengers squad for The Eighth Wonder, each player bringing heavyweight creds that elevate the album from solid to sublime. Leading the charge is Griffin himself on trombone, composing, arranging, and producing – because why not wear all the hats when you're the eighth wonder?
Cecil McBee (Bass): A bass titan born in 1935 in Tulsa, Oklahoma, McBee's thunderous yet lyrical lines anchor everything from Pharoah Sanders' spiritual epics (Karma) to Alice Coltrane's cosmic voyages. He's a free jazz staple, having played with Archie Shepp and Jackie McLean, and his work here provides the gravitational pull that keeps the avant-garde from floating away.
Leopoldo Fleming (Congas, Bells, Percussion): Puerto Rican percussion maestro (born 1935), Fleming's rhythmic flair spiced up Nina Simone's bands and Harry Belafonte's tours. His Latin-infused beats add that "Jakubu’s Dance" groove, turning the album into a global party – think congas meeting Mississippi blues without missing a beat.
Freddie Waits (Drums): Griffin's high school buddy from Jackson (1937-1989), Waits was a powerhouse who drummed for Max Roach, Sonny Rollins, and McCoy Tyner. Father to modern drummer Nasheet Waits, his polyrhythmic drive here is like a heartbeat on steroids, propelling tracks like "Flying Back Home" into frenzy.
Ron Burton (Piano): A Kirk alum (like Griffin), Burton (1936-2013) brought soulful comping from sessions with Roland Hanna and his own spiritual jazz outings. His frenetic patterns on this album add harmonic depth, making the piano feel like a co-conspirator in the chaos.
Sam Rivers (Tenor/Soprano Saxophone, Flute): The elder statesman (1923-2011) from Oklahoma, Rivers was a free jazz pioneer with his own Studio Rivbea loft scene, collaborating with Dizzy Gillespie, Miles Davis, and Cecil Taylor. His stellar solos – especially the showstopping extended one on the closer – steal scenes, blending lyricism with avant-garde fire.
Warren Smith (Percussion, Balafon on "Flying Back Home"): A versatile percussionist (born 1934), Smith's credits include Gil Evans, Aretha Franklin, and avant-garde experiments. His balafon (African xylophone) adds ethereal vibes, turning the track into a polyrhythmic ritual.
This crew wasn't just hired guns; they were collaborators in Griffin's vision, blending post-bop, free jazz, and soul into a cohesive unit. Imagine if the Justice League played instruments – that's the level of synergy.
Technical Insight: Breaking Down the Sonic Sorcery
Recorded in 1974 at Sound Ideas Studio in New York with engineer George Klabin, The Eighth Wonder is a technical tour de force, clocking in at about 40 minutes across six tracks that range from boozy blues to avant-garde explosions. Griffin's "circularphonics" shines brightest: on the title track, he kicks off with an unaccompanied trombone double-buzz, playing in two keys simultaneously – it's like hearing a duet from one mouth, stable and harmonious, evoking a boozier Bob Dylan vibe but with jazz swagger. The production captures this multiphonic magic crisply, without muddiness, highlighting the trombone's aggressive tone that sometimes relies on repetition for emphasis but never bores.
Musically, it's a post-bop stretcher: "It Could Be" balances dark modalism with free-form flute counterpoint from Rivers, creating tension like a rubber band about to snap. "Jakubu’s Dance" trudges like Bitches Brew with Latin licks and entrancing lyricism, while "Flying Back Home" erupts in furious call-and-response between Griffin and Rivers, shifting African polyrhythms irradiated by Smith's balafon – it's an avant-garde freakout over Burton's frenetic piano. "Come Be With Me" features Rivers' feathery, passionate soprano solo, full of romanticism and virtuoso flair. The album mixes spiritual soulfulness, melodic lightness, and bursts of the avant-garde, with excellent sound quality that makes collectors drool. Technically, it's innovative for its era, pushing trombone boundaries in a sax-dominated scene – Griffin turns the horn into a multiphonic monster, blending harmony and breath control that's as technically demanding as it is ear-opening.
Humorously, if this album were a recipe, it'd be equal parts Coltrane's ascension, Kirk's multiplicity, and a dash of Mississippi mud – stirred, not shaken.
Impact Upon Release: A Whisper in the Jazz Storm
Upon its 1974 drop on Strata-East (catalog SES-19747), The Eighth Wonder didn't exactly set the charts ablaze – it was more like a underground tremor felt by the initiated. Strata-East's limited distribution meant it flew under mainstream radar, with modest sales in the thousands, appealing to spiritual jazz fans and collectors rather than Billboard climbers. Contemporary reviews were sparse, but those who heard it praised its innovation; one called it an "amazing post-bop stretcher" with Rivers' stellar contributions. It influenced niche circles, like loft jazz scenes, but lacked the promotional muscle of majors. Impact-wise, it solidified Griffin's rep as a sideman stepping up, but in a crowded '70s jazz landscape (think Weather Report, Return to Forever), it was like bringing a trombone to a fusion gunfight – respected, but not revolutionary in sales. Still, it earned cult status among vinyl hunters, with originals fetching premium prices for their rarity and sound.
Place in the Strata-East Pantheon: A Solid Brick in the Artist-Owned Wall
Strata-East, founded in 1971 by Charles Tolliver and Stanley Cowell, was a revolutionary artist-owned label born from frustration with corporate exploitation. Inspired by Detroit's Strata Corporation, it emphasized musician control: artists retained ownership, with the label taking a small cut – a bold flip on the industry script. The pantheon includes heavy hitters like Tolliver's Music Inc., Cowell's solos, Gil Scott-Heron's Winter in America, Billy Harper's Capra Black, Mtume's funk-jazz, and Pharoah Sanders-adjacent vibes from folks like Carlos Garnett and Andy Bey. Active for a decade, it released about 50 titles, focusing on Black consciousness and spiritual jazz.
The Eighth Wonder fits snugly as an under-the-radar gem: not as iconic as Music Inc. (which sold 300,000+), but emblematic of the label's ethos – artist-led, innovative, and free from commercial chains. It's part of the spiritual/avant-garde wing, alongside Harper and Jenkins, showcasing Strata-East's commitment to diverse voices. In the pantheon, it's like the quirky cousin: not the headliner, but the one everyone wishes got more stage time.
Legacy: From Overlooked to Overdue Acclaim
Fifty years on, The Eighth Wonder endures as an "overlooked triumph," a passionate slice of post-Coltrane spiritual jazz that's smart, innovative, and begging for rediscovery. Reissued digitally and on compilations like The Eighth Wonder & More (1995), it's accessible on Bandcamp and streaming, fetching kudos from modern critics for its blend of soul, funk, and avant-garde. Legacy-wise, it cements Griffin's pioneer status, influencing trombonists in free jazz circles and highlighting Strata-East's model, which inspired later indies. Collectors rave about its intrigue, and user scores hover around 70/100, but it's still niche – like a wonder that's eighth because the first seven hogged the spotlight.
In the end, Griffin's album proves that true wonders don't need pyramids; they just need a trombone and a dream. If it leaves you wondering why it's not more famous, well, that's the jazz life – full of slides and surprises.
